4165 Forme gris bleuâtre

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Antoni Tàpies

(Barcelona, 1923 – 2012)

Forme gris bleuâtre (Bluish Grey Form)

1955

mixed media on canvas on board

72.5 x 91.7 cm

Inv. no. 4165

BBVA Collection Spain

Antoni Tàpies is widely regarded by art critics as one of the chief exponents of Informalism
Term coined by the French art critic Michel Tapié (under the name of art informel) to define the art movement that covers a whole range of abstract and gestural trends that emerged in Europe in the 1940s in parallel with the development of
Abstract Expressionism
This contemporary painting movement emerged within the field of abstraction in the 1940s in the United States, from where it spread worldwide. Rooted in similar premises and postulates as Surrealism, the Abstract Expressionist artists regarded the act of painting as a spontaneous and unconscious activity, a dynamic bodily action divested of any kind of prior planning. The works belonging to this movement are defined by the use of pure, vibrant primary colours that convey a profound sense of freedom. The movement’s main pioneers were, among others, Arshile Gorky (1904-1948) and Hans Hoffman (1880-1966). Leading Spanish exponents of the movement are Esteban Vicente (1903-2001) and José Guerrero (1914-1991), who lived for some time in New York City, where they were in first-hand contact with the many artistic innovations taking place there around that time.
in America. The movement is defined by a non-figurative language that lends a very significant role to the use of materials. The defining moment for Informalismo in Spain was in the 1950s, with a generation of artists whose languages embraced both European Art Informel and American
Abstract Expressionism
This contemporary painting movement emerged within the field of abstraction in the 1940s in the United States, from where it spread worldwide. Rooted in similar premises and postulates as Surrealism, the Abstract Expressionist artists regarded the act of painting as a spontaneous and unconscious activity, a dynamic bodily action divested of any kind of prior planning. The works belonging to this movement are defined by the use of pure, vibrant primary colours that convey a profound sense of freedom. The movement’s main pioneers were, among others, Arshile Gorky (1904-1948) and Hans Hoffman (1880-1966). Leading Spanish exponents of the movement are Esteban Vicente (1903-2001) and José Guerrero (1914-1991), who lived for some time in New York City, where they were in first-hand contact with the many artistic innovations taking place there around that time.
. These included, among others, Antoni Tàpies (1923-2012), Josep Guinovart (1927-2007), August Puig (1929-1999), Antonio Saura (1930-1998), Manolo Millares (1926-1972) and Rafael Canogar (1935).
and one of the most important 20th Century artists in Spain and internationally. In his practice, he explored the problems affecting humankind and introduced a sense of spirituality into things that Western tradition had always discarded as poor or waste material. With its high material charge, his painting was also sustained by an important iconographic content. His paintings contain signs such as crosses, lines, numbers, or letters like A and T—referencing himself and his wife Teresa—as well as a notable presence of the human figure, only apparently veiled by abstraction.

After his surrealist period, Antoni Tàpies began experimenting and his work turned purely material, inspired by Jean Dubuffet (1901-1985) and Jean Fautrier (1898-1964), although rendered in a highly personal fashion.

This is a significant work in Tàpies’ oeuvre, given that it is one of the first ones that the artist from Barcelona painted in a non-objective language and within this matter-based painting
“matteric” or matter-based painting is a tendency within informel art or art autre
and art informel are terms coined by the French art critic Michael Tapié to describe the non-
Geometric Abstraction
A term introduced in the 1920s to name a kind of abstract art based on scientific and mathematical principles. The main goal was to eliminate all subjectivity in favour of art based on the essence of geometric forms. Its main champions were Wassily Kandinsky (1866-1944), Kazimir Malevich (1879-1935) and Piet Mondrian (1872-1944).
that emerged in France in the 1950s, running parallel to US
Abstract Expressionism
This contemporary painting movement emerged within the field of abstraction in the 1940s in the United States, from where it spread worldwide. Rooted in similar premises and postulates as Surrealism, the Abstract Expressionist artists regarded the act of painting as a spontaneous and unconscious activity, a dynamic bodily action divested of any kind of prior planning. The works belonging to this movement are defined by the use of pure, vibrant primary colours that convey a profound sense of freedom. The movement’s main pioneers were, among others, Arshile Gorky (1904-1948) and Hans Hoffman (1880-1966). Leading Spanish exponents of the movement are Esteban Vicente (1903-2001) and José Guerrero (1914-1991), who lived for some time in New York City, where they were in first-hand contact with the many artistic innovations taking place there around that time.
. It was predicated on the spontaneous gesture, the use of matter, automatism and the lack of preconceived ideas.
, in which artists focused primarily on texture, obtained by using all kinds of materials, not necessarily coming from conventional art methods.
of which he would become the greatest exponent in Spain, trailblazing a path that would be followed by many other artists.

The piece emphasises the importance of the form, of matter, of a work that is the outcome of construction and destruction, within a dynamic characteristic of Art Informel which, for this artist, is a reflection of nature and the biological, a sedimentation of materials to which he would provide a mystical, alchemical dimension as a reflection of a world in flux.

Forme gris bleuâtre was included in the exhibition on this new movement celebrated in 1957 at the Martha Jackson Gallery. The exhibit showcased a selection of works by the artist that gave the public the opportunity to dive in his most heartrending universe. Owing to its inclusion in that show, two other alternative titles for the painting are written on the back: Forme gris bleuâtre and Untitled, Blue.

Antoni Tàpies

Forme gris bleuâtre (Bluish Grey Form)

1955

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